"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Stuart, Jennie This is not intended to be a discussion about humanist art, its place in the history of art or a detailed coverage of work which might be described as such. I am not qualified to do so. However, I believe, it is a field which could be explored further by Australian Humanists.

Giorgio Agamben, a philosopher both celebrated and reviled, is among the prominent voices in contemporary Italian thought today. His work, which touches upon fields as diverse as aesthetics and biopolitics, is often understood within a framework of Aristotelian potentiality. With this incisive critique, Doussan identifies a different tendency in the philosopher's work, an engagement with the problem of time that is inextricably bound up with language and visuality. Founded in his early writings on metaphysics and continuing to his present occupation (...) with inoperativity, Time, Language and Visuality in Agamben's Philosophy forges an original path through Agamben's extensive commentary on the linguistic and the visual to illuminate the recurrent temporal theme of capture and evasion the cat-and-mouse game that bears the foundational violence of not just representation but concept-formation itself. In the process, Doussan both reveals its limit and establishes a ground for future engagements. (shrink)

La théologie balthasarienne de l'auto-révélation divine se fonde sur le témoignage de Dieu dans l'histoire , sans se détacher d'une métaphysiquede l'être reçue sous l'aspect du transcendantal «Beau» que manifeste toute figure du monde. La métaphysique balthasarienne se déploie ainsi selon un axe original. Elle rompt d'une part, avec les formes de pensée dites «onto-théologiques», et d'autre part, avec une apologétique des signes. Plus qu'une métaphysique, nous sommes en présence d'une onto-phénoménologie dont les implications trinitaires et christologiques offrent des développements (...) à première vue inattendus, manifestant cependant la cohérence et la spécificité de la distribution trilogique de la grande oeuvre balthasarienne . Le centre que constitue la dramatique trinitaire est quant à lui tributaire d'une source philosophique qui n'est pas sans parenté avec la philosophie de la Révélation de F.W.J. Schelling, òu domine le thème de Dieu «Seigneur de l'Être» et de «mise en réserve» de la Gloire. Cette ultime prérogative de la liberté divine ne s'éclaire que dans le domaine de la christologie de l'obéissance et de la kénose. C'est précisément cette dimension qui fait l'objet de nos analyses. (shrink)

Balthasar a acquis la réputation d'un théologien de la Beauté du divin. C'est en phénoménologue qu'il conçoit l'expérience esthétique : comment réussit-il à en faire le fondement d'une théologie esthétique ? « Dieu par lui-rnême a pris une figure » : telle est l'expression centrale de cette esthétique. Elle est influencée au plan théologique par la conception de la Révélation chez Karl Barth : le croire est corrélatif au voir ; et d'autre part au plan philosophique, par le concept de (...) phénomène chez Martin Heidegger : le phénomène est ce qui se montre soi-même par soi-même. L'Écriture est traitée comme une figure, une image phénoménale, dont la médiation se poursuit dans l'Église pour désigner et attester la figure singulière de révélation qu'est le Christ. La difficulté de l'entreprise est de mettre en œuvre une médiation qui n'aboutisse pas à identifier figure du monde et figure de révélation, mais qui n'empêche pas non plus la manifestation de l'être divin en son apparaître sensible, car le mystère de la beauté consiste dans une telle donation de soi-même. Sur ce terrain, Balthasar prend congé d'Augustin et entre en débat avec Karl Rahner. Mais, dans la chair du Christ, Dieu se dévoile en se voilant suprêmement. La figure accède à sa vérité au prix d'une auto-dissimulation. La chair du Christ doit-elle parvenir à ce degré d'idéalité, finalement se « déhistoriser », pour laisser transparaître la vérité de l'Être qui s'offre en elle à notre perception sensible ? C'est la limite paradoxale d'une esthétique fondamentale qui paraît plus propre à inspirer une attitude confessante qu'à se définir conceptuellement.Balthasar acquired the reputation of a theologian of divine Beauty. It was as a phenomenologist that he conceived the aesthetic experience : how did he succeed in founding an aesthetic theology ? « God, of his own doing, took a countenance » : such is the main expression of this aesthetic. It is influenced on a theological level by the conception of Karl Barth’s Revelation : Believing is correlative to seeing ; and on the philosophical level, by the concept of phenomenon with Martin Heiddegger : the phenomenon is that which shows itself by itself. Writing is treated as a figure, a phenomenal image, of which the mediation is continued in the Church to designate and attest the unique figure of revelation, which is Christ. The problem with the undertaking is to put into effect a mediation that does not conclude in identifying the figure of the world and the figure of revelation. It does not prohibit the manifestation of the divine being in its sensitive apparition, for the mystery of beauty consists in the giving of oneself. In this light, Balthasar leaves Augustine and enters into discussion with Karl Rahner. In the flesh of Christ, however, God unveils himself by completely hiding himself. The figure approaches its truth at the price of a self-concealment. Must the flesh of Christ come to such a degree of idealization, finally to de-historicize itself, in order to allow the truth of Being to shine through, a truth that offers itself through that flesh to our sensitive perception ? This is the paradoxical limit of a fundamental aesthetic that seems to be more proper to inspire a confessing attitude than to define itself conceptually. (shrink)

In this paper some properties of epi-representations and Schmidt-congruence relations of orthomodular partial algebras are investigated and an infinite list of OMA-epi-subdirectly irreducible orthomodular partial algebras will be constructed.

Cet article propose une relecture de l’œuvre de Karl Rahner à la lumière des développements successifs qu’il consacra à la relation entre philosophie et théologie, dégageant ainsi la force inspiratrice d’une réflexion qui n’a rien perdu de son actualité. Les sources auxquelles puise et se confronte K. Rahner sont diverses, mais toujours maîtrisées, au service d’une tâche dont il s’est inlassablement préoccupé : dégager l’espace où puisse être audible et dicible la manifestation du "libre Inconnu" se révélant et se communiquant (...) à l’homme.This article proposes a rereading of the work of Karl Rahner in the light of the successive analyses he developed of the relation between philosophy and theology, thus revealing the inspiring force of his reflection that remains quite topical. The sources K. Rahner utilizes and confronts are diverse, but always masterfully utilized in the service of a task which continuously preoccupied him: creating a space in which the manifestation of God, the “free Unknown”, could be heard and spoken of, thus revealing Himself and communicating with man. (shrink)

What has the past reaction to the COVID-19 pandemic taught us? We have seen that many low and middle-income countries (LMICs) still lack access to vaccines, and it seems little progress has been made in the last few months and year. This article discusses whether the current strategies, most notably, vaccine donations by the international community and the COVID-19 global access facility COVAX, offer meaningful solutions to tackle the problem. At the centre of our analysis, we compare the concepts of (...) “donations” and “charity” with “vaccine equity” and the “empowerment” of poorer countries. We suggest that the achievement of fair global vaccine production requires that our global approach is supportive of the idea of empowerment. We, therefore, need structural reforms, which would most importantly include capacity building, to positively impact this goal and to take the interests of the global poor seriously. (shrink)

Infants have been described as 'statistical learners' capable of extracting structure (such as words) from patterned input (such as language). Here, we investigated whether prior knowledge influences how infants track transitional probabilities in word segmentation tasks. Are infants biased by prior experience when engaging in sequential statistical learning? In a laboratory simulation of learning across time, we exposed 9- and 10-month-old infants to a list of either disyllabic or trisyllabic nonsense words, followed by a pause-free speech stream composed of a (...) different set of disyllabic or trisyllabic nonsense words. Listening times revealed successful segmentation of words from fluent speech only when words were uniformly disyllabic or trisyllabic throughout both phases of the experiment. Hearing trisyllabic words during the pre-exposure phase derailed infants' abilities to segment speech into disyllabic words, and vice versa. We conclude that prior knowledge about word length equips infants with perceptual expectations that facilitate efficient processing of subsequent language input. (shrink)

The ‘socially valuable knowledge’ principle has been widely acknowledged as one of the most important guiding principles for biomedical research involving human subjects. The principle states that the potential of producing socially valuable knowledge is a necessary requirement, although not sufficient, for the ethical conduct of research projects. This is due to the assumption that the social value of knowledge avoids exploitation of research subjects and justifies the use of health resources. However, more recently, several authors have started interrogating the (...) validity of SVK in research and offered various lines of argument against the SVK principle as a necessary constraint to research. In this article, I will reconstruct the main arguments of this discussion between defenders and debunkers of the SVK principle and offer a third way to consider the social value of knowledge in research studies. I will argue that the social value of knowledge can be supported by an independent justification. This justification of the SVK principle addresses the rationality and common interest of researchers. Thus, I will introduce the SVK principle as a safeguarding principle for public trust based on a conceptual framework by Alex John London. My approach justifies keeping the principle as a precautionary and rational requirement for human health research that all rational stakeholders can agree upon. (shrink)

Stuart, Jennie Review of: My year without meat, by Richard Cornish, Melbourne University Press 2016, 185 pp.

Boorse’s biostatistical theory states that diseases should be defined in ways that reflect disturbances of biological function and that are objective and value free. We use three examples from contemporary medicine that demonstrate the complex issues that arise when defining the boundaries of disease: polycystic ovary syndrome, chronic kidney disease, and myocardial infarction. We argue that the biostatistical theory fails to provide sufficient guidance on where the boundaries of disease should be drawn, contains ambiguities relating to choice of reference class, (...) and is out of step with medical processes for identifying disease boundaries. Although proponents of the biostatistical theory might regard these practical issues as irrelevant to the aim of providing a theoretical account of disease, we take them to indicate the need for a theoretical account that is adequate for current needs—including limiting new forms of medicalization that are driven by the identification of disease based on dysfunction. Our processes for determining the boundaries for disease need to recognize that there is no value-free method for making these decisions. (shrink)

The ever increasing ability of medical technology to reshape the human body in fundamental ways—from organ and tissue transplants to reconstructive surgery and prosthetics—is something now largely taken for granted. But for a philosopher, such interventions raise fundamental and fascinating questions about our sense of individual identity and its relationship to the physical body. Drawing on and engaging with philosophers from across the centuries, Jenny Slatman here develops a novel argument: that our own body always entails a strange dimension, (...) a strangeness that enables us to incorporate radical physical changes. (shrink)

This book will give unique insight into how a new generation of Bourdieusian researchers apply Bourdieu to contemporary issues. It will provide a discussion of the working mechanisms of thinking through and/or with Bourdieu when analysing data. In each chapter, individual authors discuss and reflect upon their own research and the ways in which they put Bourdieu to work. The aim of this book is not to just to provide examples of the development of Bourdieusian research, but for each author (...) to reflect on the ways in which they came across Bourdieu's work, why it speaks to them (including a reflexive consideration of their own background), and the way in which it is thus useful in their thinking. Many of the authors were introduced to Bourdieu's works after his death. The research problems which the individual authors tackle are contextualised in a different time and space to the one Bourdieu occupied when he was developing his conceptual framework. This book will demonstrate how his concepts can be applied as "thinking tools" to understand contemporary social reality. Throughout Bourdieu's career, he argued that sociologists need to create an epistemological break, to abandon our common sense - or as much as we can - and to formulate findings from our results. In essence, we are putting Bourdieu to work to provide a structural constructivist approach to social reality anchored through empirical reflexivity. (shrink)

La question qui anime tout ce travail est de savoir comment la philosophie peut se rendre digne du retour aux choses memes. Chez Merleau-Ponty, ce retour implique, de prime abord, une critique vigoureuse de la pensee representative. La phenomenologie merleau-pontienne nous enseigne que la perception, ou plus precisement l'aisthesis, precede le domaine de la representation. C'est donc a l'aisthesis que la phenomenologie doit remonter. Et c'est la tout l'interet d'une ontologie de la peinture qui se demarque profondement d'une ontologie de (...) la representation. Or, l'etude de Jenny Slatman montre clairement que ce retour aux choses memes ne s'acheve pas simplement dans une philosophie de l'art. En effet, l'auteur developpe la these, a travers une lecture rigoureuse de l'oeuvre de Merleau-Ponty, selon laquelle le retour aux choses memes resulte en une transformation de l'expression philosophique. Comparable a une oeuvre d'art, l'oeuvre ou l'expression de la philosophie ne devrait pas s'enfermer dans des concepts figes. Mais grace a la force de la metaphore, le discours philosophique peut rester a jamais ouvert et en mouvement perpetuel. (shrink)

En 1965, Karl Rahner et Karl Lehmann publièrent une étude documentée et systématique sur les rapports entre kérygme et dogme, quintessence des travaux en cours dans ce domaine, au moment où s'achevait le concile Vatican II. Un premier principe consensuel allait se dégager de ces travaux. Son impact touchera directement la fonction régulatrice des langages de la foi, autrement dit du caractère principiel et originaire de cette fonction dévolue aux formules de confessions présentes dans l'écriture néotestamentaire. Il s'agissait en somme (...) de poser et de justifier les principes d'une interprétation dogmatique de l'Ecriture. L'une des questions cruciales alors débattues tournait autour de la signification d'un objet de foi saisissable en énoncés de vérité, objet qui ne pouvait consister en une simple sequela Christi, ou être ramené à une anthropologie existentiale. Une place pour le dogme semblait subsister. Ce processus va déboucher sur une interprétation " extensive " du dogme à laquelle V. Holzer consacre ici l'essentiel de ses analyses. In 1965, Karl Rahner and Karl Lehmann published a documented and systematic study of the relationship between kerygma and dogma, the quintessence of work being done in the field when the Second Vatican council was coming to an end. An initial consensual principle would come out of this work. It was to have a direct impact on the regulating function of the languages of faith, in other words the nature of this function as principle and origin allotted to the formulas of confessions present in New Testament writing. In short, it involved laying down and justifying the principles of a dogmatic interpretation of Scripture. One of the crucial questions debated at the time revolved around the meaning of an object of faith that can be grasped in true statements, an object that could not consist of a mere sequela Christi or be reduced to an existential anthropology. A place for dogma seemed to remain. This process was going to culminate in an "extensive" interpretation of dogma, to which V. Holzer devotes most of his analyses here. (shrink)

Memory is a central epistemic resource, yet the interactional organization of shared remembering is largely unexplored. Drawing on a large corpus of video- and audio-recorded interactions in English and Russian, we examine a collection of over 50 cases in which participants are engaged in the activity of co-remembering. We show that memory formulations are commonly used as an evidential method to legitimize or support a claim or point of view in contexts of challenges, objections, disagreements, skepticism, resistance and when alternative (...) positions are on the floor. Our study indicates that in deploying memory formulations, interactants rely on the robust character of excavatable shared past experiences to provide an upgraded epistemic claim to support a contentious stance toward an alternative position. (shrink)

Social Ethics is an animated introduction to moral philosophy and the key ethical issues of today, and will serve as the ideal text for undergraduate courses in applied, practical and social ethics.

Mexico's pandemic management and the absence of measures have been harshly criticized as being disproportionate. This paper examines whether the proportionality principle was properly applied to Mexico's COVID-19 response and outlines three reasons against such an endeavor, namely (i) the content of “proportionate measures” remained insufficiently well defined, (ii) there were yet fundamental rights conflicts to resolve, and (iii) the situation was moreover characterized by epistemic uncertainty.

For International Relations scholars, discussions of globalization inevitably turn to questions of sovereignty. How much control does a country have over its borders, people and economy? Where does that authority come from? _Sovereign Lives_ explores these changes through reading of humanitarian intervention, human rights discourses, securitization, refugees, the fragmentation of identities and the practices of development.

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...

Wird Sprache gesprochen, erzwingt die Zeit eine Abfolge der Zeichen: Es wird immer nur ein bestimmtes Zeichen gleichzeitig ausgesprochen und somit ergibt sich eine eindeutige zeitliche Reihung. Diese Reihung wurde beim Aufkommen der Schrift beibehalten: Es ist möglich, die Zeichen eines Textes auf einem fortlaufenden Band aufzuschreiben. Diese lineare Ordnung wird aus verschiedenen Gründen durchbrochen, was jeweils mit Abfolgeregeln bezahlt werden muss: Die zweidimensionale Darstellung und das Buchformat erleichtern den Lesefluss; Seiten- und Zeilennummerierungen erlauben einen direkteren Zugriff auf Teile des (...) Textes; Titel sollen die Bedeutung der ihnen untergeordneten Schriftzeichen repräsentieren; im Inhaltsverzeichnis wird daher nicht nur die reine Abfolge der Schriftzeichen im Text fassbar, sondern auch in gewisser Weise die Abfolge der Bedeutungen. (shrink)

The writer responds to the article “The Social Value Requirement in Research: From the Transactional to the Basic Structure Model of Stakeholder Obligations,” by Danielle M. Wenner, in the January‐February 2019 issue of the Hastings Center Report.

La théologie trinitaire contemporaine s’est emparée d’un « analogon » qui s’est imposé dans la période moderne comme un étalon rationnel pour penser, à partir du Père, la distinction des processions du Verbe et de l’Esprit, l’une selon le mode qui revient à l’acte d’intelliger par production d’un Verbe, l’autre selon le mode qui revient à l’acte d’aimer par inclination volontaire. Hans Urs von Balthasar, soucieux de ne pas faire tort à la « taxis » trinitaire, cherche néanmoins à se (...) délester d’un schème métaphysique trop contraignant, ne laissant à la source scripturaire qu’une place infirme compromettant ses virtualités expressives. D’une certaine manière, le théologien reprend la main sur les usages conceptuels jugés défectueux au regard de la règle de foi. (shrink)

In this book the authors analyze and explore contemporary ideas of pedagogy through the work of key figures including Freire, Montessori, and Vygotsky, and explain how a new conception of pedagogy could transform educational institutions, ...